Release Date: April 3rd, 1995 (New York City premiere) Directed by: Martin Scorsese Written by: Nicholas Pileggi, Martin Scorsese Based on:Casino: Love and Honor In Las Vegas by Nicholas Pileggi Music by: various Cast: Robert De Niro, Sharon Stone, Joe Pesci, Don Rickles, Kevin Pollak, James Woods, Alan King, L. Q. Jones, Dick Smothers, Frank Vincent, John Bloom (Joe Bob Briggs), Richard Riehle, Frankie Avalon
Syalis DA, Legende Enterprises, Universal Pictures, 178 Minutes
“Listen to me very carefully. There are three ways of doing things around here: the right way, the wrong way, and the way that I do it. You understand?” – Ace Rothstein
Casino was the longest of Martin Scorsese’s films until The Wolf of Wall Street came out nearly two decades later. More recently, The Irishman came out and took the title. Truthfully, this picture could’ve actually been shorter by about a half hour but it’s still pretty damn good.
I do like this movie but my review may still come off as overly critical or as if I don’t like it. Reason being, it’s far from my favorite Scorsese flick and I feel like it’s trying to be too much like the far superior Goodfellas and because of that, it’s hard not to compare it to its superior, more interesting and energetic, predecessor.
To start, the acting in this is superb from top-to-bottom. I’d say that this also features Sharon Stone’s greatest performance even if her character was completely unlikable. By the end of the film, however, you actually feel for her character and her dark fate. That’s honestly got to be a testament to how great she was in this and how Scorsese really maximized her talent in a way that few directors have.
Robert De Niro and Joe Pesci were also fabulous but this is also really familiar territory for them and they already had tremendous chemistry, by this point, as they had starred alongside each other in several films before this one.
Other standouts were Frank Vincent and John Bloom, who is known by most people as the legendary and charismatic Joe Bob Briggs. Both these guys shined in this and in regards to Bloom, I had always wished he’d been in more films, as he proves in this that he can act pretty well in the right situation.
The narrative structure is almost too much like Goodfellas, though, and I find it kind of distracting, as it continually makes me think of that film and if Scorsese is just relying on what seems to be a trope that worked exceptionally well for him half a decade earlier. At the same time, I’ve never been a fan of multiple narrators, specifically when some of the characters are dead. That’s my problem, though, and I know that it doesn’t bother most people.
Back to one of my earlier points, this could’ve been better overall with about a half hour edited out. There are sometimes too many details and side plots, as this wedges in several characters that kind of don’t matter when you boil this story down to its core elements.
Also, the film does drag on in some parts and I feel like it would’ve been a much stiffer punch in less time with just the truly important parts left in. This also would’ve given the film more energy.
Casino is still a film Scorsese should definitely be proud of, as well as all the actors featured in it. I like the story, most of the characters and thought that it was a worthwhile way to spend three hours.
Rating: 7.75/10 Pairs well with: other Martin Scorsese crime films, as well as those by Brian De Palma and Michael Mann’s Heat, also from 1995.
Release Date: May 31st, 1990 (Los Angeles premiere) Directed by: Paul Verhoeven Written by: Ronlad Shusett, Dan O’Bannon, Jon Povill Based on:We Can Remember It For You Wholesale by Philip K. Dick Music by: Jerry Goldsmith Cast: Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Michael Ironside, Ronny Cox, Mel Johnson Jr., Marshall Bell, Roy Brocksmith, Ray Baker, Michael Champion, Rosemary Dunsmore, Robert Costanzo, Marc Alaimo, Dean Norris, Debbie Lee Carrington, Lycia Naff
Carolco Pictures, 113 Minutes
“Sorry, Quaid. Your whole life is just a dream.” – Lori
Paul Verhoeven has made some of the most iconic and entertaining sci-fi action movies of all-time and Total Recall is no different. While I don’t put it on the same level as RoboCop, a near masterpiece, or Starship Troopers, it is still a fun, badass, sci-fi action flick that stars one of the top action stars to ever walk on Earth (or Mars for that matter).
The film is a very loose adaptation of a Philip K. Dick story, but then so were most of the earlier films based on his work.
In this, we see an average guy go to a company that has the technology to enter his brain and send it on a vacation, tailor-made to his personal preferences. However, things suddenly go nuts and we’re taken on a journey where we never really know if what we’re seeing is a dream or reality. While there are clues sprinkled into the film, unintentional or not, it’s still left pretty ambiguous.
Honestly, I don’t care if it’s a dream or not, I just like rolling with the movie and letting it play out, regardless of what the truth is. And frankly, I’m not going to devote much time to over-analyzing the hell out of it like other people have done for decades. There are much better, smarter films to ponder the mysteries of.
Anyway, this is a well cast picture with a lot of people that were either stellar character actors or people just on the verge of breaking out like Sharon Stone.
Additionally, the special effects were really good, especially for this coming out just before the CGI-boom. The effects were best in regards to the animatronic and physical model work. The scenes with heads about to explode in the Martian atmosphere, as well as the mutant effects, were top notch stuff for the time.
In fact, this was one of the most expensive films of its day, as far as production costs went. It’s uncertain if it broke the record or not but it was definitely in the running.
However, the weird thing about that, is I thought the sets looked pretty cheap and generic. I’m not trying to knock them but the Martian city stuff looked weak. This isn’t just me seeing it through 2020 eyes, I actually felt this way when I saw it as an eleven year-old kid in 1990.
Now the sets aren’t terrible, they just aren’t impressive or very creative. I felt like more money definitely went into the animatronic effects and that they tried to trim some of the budgetary fat by making the world these characters inhabit a little too basic.
Also, I think that the lighting didn’t help the sets either, as everything was lit really, really well. Even the scenes in the mining caves. I feel like some of the cheapness could’ve been easily obscured with more subdued lighting that felt more natural and not like these characters were on a stage or a sitcom.
Complaints aside, I still love this movie and none of the flaws really wreck it.
All in all, this was and still is an exciting film. It did really well when it came out and a sequel script, based off of Philip K. Dick’s Minority Report was written. It never got made, however, but Minority Report would eventually become a film by Steven Spielberg, who used a very different script.
Rating: 7.5/10 Pairs well with: other Paul Verhoeven sci-fi movies, as well as other Arnold Schwarzenegger action films.
Release Date: February 12th, 1988 Directed by: Craig R. Baxley Written by: Robert Reneau Music by: Herbie Hancock, Michael Kamen Cast: Carl Weathers, Craig T. Nelson, Vanity, Sharon Stone, Thomas F. Wilson, Robert Davi, Bill Duke, Jack Thibeau, Chino ‘Fats’ Williams, De’Voreaux White, Miguel Nunez, Al Leong, Sonny Landham, Mary Ellen Trainor
Lorimar Film Entertainment, Silver Pictures, 96 Minutes
“[turning a flamethrower on a bad guy] How do you like your ribs?” – Action Jackson
This was a film that was supposed to be the first in a franchise. That never happened and that could be due to the film being critically panned and for it being absolutely ridiculous and the type of cheese that induces a wee bit of cringe. But I still dig the hell out of Carl Weathers in this and it was cool seeing him step out from behind more famous action stars Sylvester Stallone and Arnold Schwarzenegger.
But this also was born from Weathers’ involvement in the Schwarzenegger starring Predator, as he and producer Joel Silver loved blaxploitation flicks. Silver told Weathers to come up with something and its that idea that became the basis for this film.
The plot is pretty simple, Jericho “Action” Jackson is a no nonsense cop that loves the ladies and hates yuppie scum that kills and destroys for their own selfish, greedy means. In this film, the scum is played by Coach star Craig T. Nelson. And we even get to see Coach do some kung fu trickery.
Similar to a Bond film and other films with macho gun wielding heroes, there are two hot chicks. In this we get a very young Sharon Stone, just before she reached superstardom, as well as Vanity, who was super popular at the time due to her relationship with Prince. We also get boobage from both, which from my perspective, is a strong plus.
But this film is also like a who’s who of cool character actors from the era. We get Bill Duke, De’Voreaux White, Miguel Nunez, Robert Davi, Thomas F. Wilson, Sonny Landham, Chino “Fats” Williams and ’80s action star/stuntman Al Leong.
Add in a sweet score by Herbie Hancock and you’ve just got a cool motion picture.
Overall, this is an action heavy film but it was the ’80s and all we really wanted back then was good, high octane, power fantasy escapism. You know, back in the day before that stuff was frowned upon and deemed as toxic masculinity, politically incorrect and insensitive. You know, back when people were happier and most of us got along regardless of political or social affiliation.
I really do enjoy the action in this and while it can be an ’80s cheeseball extravaganza in parts, who really gives a shit? Action Jackson actually drives a Ferrari-like supercar into Coach’s mansion, up the stairs and then smashes it through his bedroom door for the big final fight. Is that dumb? Of course it is! But that’s the appeal, people!
I can’t say that this has aged well but it might not have aged well in its current year. It’s noticeably more corny than similar films but I do like the humor, its lightheartedness and its insanity.
Action Jackson isn’t an ’80s action magnum opus by any means but it was a pretty enthralling and amusing flick with Carl Weathers being a badass, Craig T. Nelson being an evil shithead and lots of other actors that were at the height of cool at the time.
Rating: 6.25/10 Pairs well with:Cobra, Lethal Weapon, The Last Dragon, Showdown In Little Tokyo, Firewalker and Hurricane Smith.
Release Date: July 19th, 2004 (Los Angeles premiere) Directed by: Pitof Written by: John Brancato, Michael Ferris, John Rogers, Theresa Rebeck Based on: Catwoman character created by Bob Kane, Bill Finger Music by: Klaus Badelt Cast: Halle Berry, Benjamin Bratt, Lambert Wilson, Frances Conroy, Alex Borstein, Sharon Stone
Village Roadshow Pictures, Di Novi Pictures, Warner Bros., 104 Minutes
“White Russian, no ice, no vodka… hold the Kahlua.” – Catwoman
Some motion pictures are so bad that they make you want to rip your own eyes out of your head while screaming in absolute terror, having gone mad from the level of absolute dreck you’ve been exposed to. Then there is Catwoman, which makes those movies actually look okay.
Is this the worst film I’ve ever seen? No. But man is it pretty damn close. And really, it is probably the worst thing I’ve ever seen that is based on a property I like that had a nine figure budget. Warner Bros. literally dumped $100 million into this dumpster fire. Was it a tax write off? Were the executives all mad? Was someone in the company trying to woo Halle Berry by giving her a starring role in her own comic book film? Has the Devil taken over Earth? Were they contractually obligated to follow through on a script contest winner from a competition held in an insane asylum? Did Joel Schumacher sell his soul so that he would no longer be the worst architect of a Batman-related property on the big screen?
The first question that someone may have for someone who has actually seen this film is, “What’s actually wrong with it.” Well, not to sound cliche but what isn’t wrong with it? Absolutely every aspect of this picture is terrible. In fact, it is beyond terrible. A new word needs to be invented because there is no way to describe how terrible this is. This is the cinematic equivalent to putting a garbage bag over an overflowing litter box, sticking your head in and huffing the fumes. And even then, it’s worse than that.
I guess I could point out the biggest offenses though.
One, the acting is abominable. Can one blame the repulsive script? Sure. But both are so dreadful that just thinking about which is worse causes me to need a handful of Excedrin Migraine. Didn’t studios learn their lesson from Halle Berry’s role in Die Another Day? I mean, she killed the James Bond franchise for a few years. Did they want her to kill the Batman franchise too? It’s just not Berry though, it is everyone. Never has Sharon Stone been worse. Did this actually kill her career? Because she hasn’t done a whole lot since. And why was Catwoman’s sidekick Ms. Swan from Mad TV?
Two, this features some of the worst CGI effects of its era. The scenes where Catwoman runs around rooftops literally made me laugh out loud like a drunken sailor spectating a Bob Hope USO show in Vietnam circa 1967. The CGI fight scenes were just as bad. But the worst thing, by far, was the one-on-one basketball game between Catwoman in her street clothes and Benjamin Bratt’s cop character. I was baffled by every single shot in this long sequence and trying to process it all made me contemplate suicide three times.
Three, what’s with the fucking story? There’s no mention of Batman, I’m not even sure if it’s supposed to be in Gotham City, Catwoman is a completely original character and she is given magic cat powers from a thousands year-old ghost cat from Egypt. Who the hell wrote this? Why the hell would they make a Catwoman movie that has absolutely no ties or similarities to Catwoman, other than sharing her name? A ghost fucking cat, seriously?! Seriously?!?!!! I guess they were trying to expand on the weird Tim Burton origin for Michelle Pfeiffer’s Catwoman in 1992’s Batman Returns but why? That really only worked within that film. Why didn’t they just give Pfeiffer her own movie? That shit would have probably been infinitely superior to this, as long as Warner Bros. didn’t employ the same creative team that they used here.
Four, who the hell is this director? What’s with the name Pitof? A pretentious douchey name like that should have been a major red flag that told Warner Bros. to stay the hell away. Did they really need to get someone that was even more eccentric than those Schumacher films?
Five, why does all the music in this 2004 movie sound like generic R&B tunes from the early ’90s? Seriously? Why?! It’s like Warner Bros. had a bunch of unused tracks that were written for Whitney Houston to sing in The Bodyguard in 1992 and she was like, “I ain’t singin’ this shit!” So then they found them when they were throwing stuff away, twelve years later, and said, “Hey! Remeber these, guys? Let’s not waste them! Let’s use them in Catwoman!”
Six, what’s with the damn outfit? I get that Catwoman is supposed to be some shy and timid woman that got some sort of magical Egyptian ghost cat magic powers but if you didn’t already assume that she would inherit horny cat tendencies, her outfit spells it out for you. Because all cats want to do is kill, fuck and play with their food. I’m surprised that they didn’t have her paw around a half eaten Pop-Tart for a ten minute musical montage.
Seven, I could keep going but pointing out everything awful and stupid in this movie would take up an entire book.
I typically run shitty films through the Cinespiria Shitometer. I’m actually afraid to put this through my trusty machine because I don’t think that it can handle this much shit. It’d be like trying to run a 5 lb. sack of jasmine rice through a garbage disposal. The warranty card I have says that it can handle anything and that if it can’t, I’ll get a full refund or a new machine overnighted to me. Well, I guess I’ll give it a whirl. Hmm… okay. It’s going through. Aha! Astounding! The results are like nothing I have seen before! The results read, “Type Negative God Stool: A stool so powerful and awful that it turns the sphincter eye into a supermassive black hole that can suck all the shit in the world back up into its dark nothingness where it goes on to create an entire universe made out of fecal matter on the other side in what’s called the Brown Bang. A cosmic and cataclysmic stool.”
Rating: 0.5/10 Pairs well with: Huffing the fumes of a litter box. No, don’t really do that and I’m not responsible if you’re dumb enough to try.
Also known as: Extremely Violent (working title) Release Date: June 13th, 1993 (Westwood premiere) Directed by: John McTiernan Written by: Shane Black, David Arnott, William Goldman (uncredited), Zak Penn, Adam Leff Music by: Michael Kamen Cast: Arnold Schwarzenegger, F. Murray Abraham, Art Carney, Charles Dance, Frank McRae, Tom Noonan, Robert Prosky, Anthony Quinn, Mercedes Ruehl, Austin O’Brien, Bridgette Wilson, Ian McKellen, Tina Turner, Rick Ducommun, Angie Everhart, Al Leong, Colleen Camp, Professor Toru Tanaka, Michael V. Gazzo, Sharon Stone (cameo), Robert Patrick (cameo), Joan Plowright (cameo), Danny DeVito (voice), MC Hammer (cameo), Karen Duffy (cameo), Maria Shriver (cameo), Little Richard (cameo), Leeza Gibbons (cameo), Chris Connelly (cameo), James Belushi (cameo), Damon Wayans (cameo), Chevy Chase (cameo), Timothy Dalton (cameo), Jean-Claude Van Damme (cameo), Melvin Van Peebles (cameo), Wilson Phillips (cameo)
Columbia Pictures, 131 Minutes
“Well I’m sorry to disappoint you but you’re gonna live to enjoy all the glorious fruits life has got to offer – acne, shaving, premature ejaculation… and your first divorce.” – Jack Slater
Man, this was a film I really loved when it came out. It was imaginative, fun and truly balls to the wall, even for not being an R-rated movie.
While it is still pretty fun, it isn’t a movie that has aged very well. At its heart, it is still a great homage to over the top, high octane action films from the ’80s, much like the ones that starred Arnold Schwarzenegger. It features lots of explosions and a ton of gun action and great vehicle chases but it is pretty toned down for a PG-13 audience unlike the hard R-rating that these movies typically get. Overall, it is more like a tongue in cheek parody of the genre. Schwarzenegger and the director, John McTiernan, poke a lot of fun at themselves and the films that they were instrumental in creating.
One cool thing about this movie is the over abundance of cameos it has. Since it takes place in a fantasy world and also goes into the “real world”, we get to see a lot of stars playing themselves, as well as some of their most famous characters within the fantasy movie world.
The story sees a young boy get a magic golden ticket that was supposedly passed down from Houdini. The ticket whisks the boy away into the movie he is watching, a film starring Arnold Schwarzenegger as a character named Jack Slater. The boy gets caught up in Slater’s in-movie adventure and gets to experience the fantasy fiction world of action films, which just so happens to overlap with other genres. Eventually, the big bad guy discovers the power of the ticket and uses it to go from world to world in an attempt to pull off heists and to gather other villains to stand against Slater.
The movie is full of late ’80s/early ’90s cheese but it is the best kind. Sure, the kid can get a bit grating at times but he’s not as bad as a lot of the kid actors from the time. This was also the young Austin O’Brien’s first movie. But ultimately, he is the eyes and ears of the audience, swept into this world and it was effective. Plus, I was the right age for this movie when it came out and he really just seemed like one of my peers from school.
Last Action Hero wasn’t a hit when it came out and critics weren’t kind to it. It’s a better picture than the experts would have you believe though, especially if the subject matter is something you’re a fan of. I grew up loving ’80s and ’90s action movies, so this is my cup of tea. Besides, Schwarzenegger is always great when he’s hamming it up. He really hams it up here.
Release Date: March 12th, 2017 (SXSW) Directed by: James Franco Written by: Scott Neustadter, Michael H. Weber Based on:The Disaster Artist: My Life Inside The Room, the Greatest Bad Film Ever Made by Greg Sestero, Tom Bissell Music by: Dave Porter Cast: James Franco, Dave Franco, Seth Rogen, Alison Brie, Ari Graynor, Josh Hutcherson, Jacki Weaver, Zac Efron, Hannibal Buress, Sharon Stone, Melanie Griffith, Paul Scheer, Jason Mantzoukas, Megan Mullally, Christopher Mintz-Plasse, Bob Odenkirk, Bryan Cranston, Judd Apatow, Zach Braff, J. J. Abrams, Lizzy Caplan, Kristen Bell, Keegan-Michael Key, Adam Scott, Danny McBride, Kate Upton, Kevin Smith, Ike Barinholtz, Randall Park
New Line Cinema, RatPac-Dune Entertainment, Good Universe, Point Grey Pictures, Rabbit Bandini Productions, Ramona Films, A24, 103 Minutes
“No, no! Very necessary. I need to show my ass to sell this picture.” – Tommy Wiseau
This was one of the most anticipated film sf 2017. It wasn’t just anticipated by me, though. Anyone who had seen Tommy Wiseau’s 2003 cult classic The Room was probably in line on opening night. Plus, it was directed by and stars James Franco, a guy with a deep personal connection to Wiseau who probably still doesn’t get enough credit for his talents.
The film also stars little brother, Dave Franco, as Greg Sestero, Tommy’s best friend and the author of the book this is based on, also titled The Disaster Artist. The book is a pretty exceptional look into The Room and into Wiseau’s life and if you haven’t read it yet, you should. Because even though I did like this film, the book has so much more that Franco couldn’t fit into a two hour movie.
In fact, there are a lot of things in the book that I wish had made it into the movie but I understand why time wouldn’t permit it. I really would have liked to have seen Sestero’s experience working on a Puppet Master film or all the stuff in the book surrounding The Talented Mr. Ripley and how Mark in The Room was named after Matt Damon but Wiseau mistakenly called him “Mark”. But the fact that we got the James Dean bits, was pretty cool.
Both Franco brothers did a great job of bringing Wiseau and Sestero to life. While James will get most of the acting props in this film for his portrayal of Wiseau and how he mastered his accent and mannerisms, I want to be the one person to actually put the focus on Dave. You see, Dave was the actual glue that held this picture together and made it work. He is the real eyes and ears of the audience and we really take this journey with him, as we did in the book. Dave Franco put in a better performance here than he has in his entire acting career. That isn’t a knock against his other work, it’s just great to see him evolve as an actor and display that he has the skills his older brother does. Hopefully, this leads to bigger and better things for the younger Franco and I assume it will.
This film is littered with a ton of celebrity cameos. Bryan Cranston even plays himself back when he was still working on Malcolm In the Middle, before his big breakout on Breaking Bad. The one cameo I loved and had actually hoped to see more of, as the character was more prominent in the book, was Sharon Stone’s portrayal of Iris Burton, Sestero’s agent. I also loved Megan Mullally as Sestero’s mother but who doesn’t love Mullally in everything?
You also get a lot of other celeb cameos, as they introduce the movie. Having known about it and having read the book, I didn’t need the intro but it serves to educate people going into this film blindly and it was still nice hearing some famous people talk about their love of The Room and its significance.
The Disaster Artist serves the story of the book well and the film was a delight. It didn’t surprise me in any way and it was pretty much exactly the film I anticipated. That’s neither good or bad, as Hollywood biopics are usually very straightforward.
Even though there weren’t surprises in the film, this is a fantastic story, that at its core, is about a man not giving up on his dream and forging his own path against those that held him back and told him “no”. The real story behind it all, is that Wiseau’s tale is an underdog tale and it’s a true story, not a Hollywood fabrication. Wiseau did something incredible and although the reception he got might not have been what he initially wanted, he did rise above all the adversity and became a star in an arena where he wasn’t welcome.
The lasting power of The Room isn’t just about how incredibly bad it is, it is that once people know its story, it is hard not to feel an intimate connection to Tommy Wiseau, a guy that should serve as an inspiration in spite of his bizarre personality and tactics.
As a kid, no comedies brought me as much replayable joy as the Police Academy films. Yes, they are cheesy and the humor is crude and low brow with slapstick thrown in but to a kid in the 1980s, that is what I liked. And it may have been the first film where I saw boobs.
Still to this day, I enjoy it. And even though this comedy method is generally used poorly in most modern films, it worked in these movies and for the time they were current.
This series spawned a new movie every spring from 1984 through 1989 and then gave us an unwatchable seventh film in 1994. Up until the end though, this was a great series. I’m not sure how new audiences would take to them today but from 1984 to 1989, the Police Academy franchise was adored by fans even if it was generally panned by critics.
Police Academy (1984):
Release Date: March 23rd, 1984 Directed by: Hugh Wilson Written by: Neal Israel, Pat Proft, Hugh Wilson Music by: Robert Folk Cast: Steve Guttenberg, Kim Cattrall, Bubba Smith, George Gaynes, Donovan Scott, Michael Winslow, Andrew Rubin, David Graf, Bruce Mahler, Marion Ramsey, Brant von Hoffman, Scott Thomson, G.W. Bailey, Leslie Easterbrook, George R. Robertson, Debralee Scott, Doug Lennox, Georgina Spelvin
The Ladd Company, Warner Bros. Pictures, 96 Minutes
“Good speech.” – Carey Mahoney
The first film in the series introduces us to many of the characters we will see over the course of several films. Most importantly, this movie gave the world the comedic talents of Steve Guttenberg. Guttenberg’s Sgt. Carey Mahoney would be the central character of these films over the first four installments.
We also got to meet Michael Winslow’s Larvell Jones, Bubba Smith’s Moses Hightower, David Graf’s Eugene Tackleberry, Leslie Easterbrook’s Sgt. Callahan, Marion Ramsey’s Sgt. Hooks, G.W. Bailey’s Lt. Harris and George Gaynes’ iconic Commandant Eric Lassard. Other major characters would come in other films but these characters lasted over most of the series and each one of them are memorable and lovable in their own way. The Police Academy series is an example of large ensemble comedies done right.
This film in the series had the most overall narrative and is considered by most to be the best film. Later films in the series were full of long-running jokes chaining back to this film, as well as being structured by a series of gags and funny bits that were only lightly threaded together by an actual plot. This one was an adult comedy, full of a large cast of kooky characters – in many ways it was similar in style to Slap Shot, Caddyshack and in some regards, MASH. The great use of this formula in Police Academy also inspired a slew of knock-off films throughout the mid 80s.
The plot is about a bunch of screw ups who join the Police Academy after the mayor declares that anyone can join the academy and be given a fair shot. It concludes with a sequence that sees these screw ups go into the field with minimal training and finding themselves in the middle of a downtown riot.
As stupid and absurd as this film can be, it does create a solid sense of camaraderie among the characters. You care about them, their relationships with one another and the crazy situations they find themselves in. This is why this movie became a hit and why this series lasted for seven pictures. You wanted to see more of these people and their antics.
Police Academy was a huge hit at the time and deservedly so. Each subsequent film dropped of a bit in success but they all still did pretty well through the 80s.
Police Academy 2: Their First Assignment (1985):
Release Date: March 29th, 1985 Directed by: Jerry Paris Written by: Barry W. Blaustein, David Sheffield Music by: Robert Folk Cast: Steve Guttenberg, Bubba Smith, David Graf, Michael Winslow, Bruce Mahler, Colleen Camp, Art Metrano, Marion Ramsey, Howard Hesseman, George Gaynes, Lance Kinsey, George R. Robertson, Tim Kazurinsky, Bobcat Goldthwait, Rich Hall
The Ladd Company, Warner Bros. Pictures, 87 Minutes
“Don’t make me flare my nostrils!” – Zed
The first sequel quickly followed the original film.
In this one, we see our beloved officers take their first job at a precinct ran by Howard Hesseman’s Pete Lassard, younger brother to Commandant Lassard. Also, Lt. Harris is replaced as the main antagonist by Art Metrano’s Lt. Mauser. This creates a lot of debate between Police Academy fans as to who was the better series antagonist: Harris or Mauser. I will say that they are both awesome.
We are also introduced to Lance Kinsey’s Lt. Proctor, who went on to become one of the funniest and most iconic idiots in cinema history. This is also the first of three films featuring Bobcat Goldthwait as Zed and Tim Kazurinsky as Sweetchuck. Zed is the big villain of the film and he is fantastic. He is also Goldthwait’s most recognizable character and plays much better as a goofy bad guy in this film than as a cop in the later ones.
This movie is still a great continuation of the Police Academy series and expands on the characters enough to where you enjoy seeing them growing up and taking on new roles.
Also, the big finale at the abandoned zoo was really cool. It was an awesome location for the gang’s hideout.
Police Academy 3: Back In Training (1986):
Release Date: March 21st, 1986 Directed by: Jerry Paris Written by: Gene Quintano Music by: Robert Folk Cast: Steve Guttenberg, Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, Art Metrano, Tim Kazurinsky, Bobcat Goldthwait, George Gaynes, Bruce Mahler, Lance Kinsey, Scott Thomson, Brant von Hoffman, Debralee Scott, Brian Tochi, George R. Robertson, Ed Nelson
Warner Bros. Pictures, 83 Minutes
“Mahoney must think he’s as dumb as we are.” – Captain Proctor
The third film rehashes the formula of the first Police Academy but doesn’t do it as well.
Here we have a new class of cadets joining the academy but now the cadets from the original film are there to train them. It is a passing of the torch to a new generation but the new generation didn’t give us many new characters to sink our teeth into. Zed and Sweetchuck return and become cops in this one but they are the brightest spot by far of the new cast of recruits.
The film is still funny, it employs a lot of the same gags and it ends with a pretty decent water action sequence for a film that is a low budget 80s comedy.
The main plot focuses on two academies going head-to-head in a competition, as the worst of the two is going to be shutdown due to budget cuts. The evil academy is ran by Mauser from the previous film. Mauser and Proctor, when together, are comedy gold.
Police Academy 4: Citizens On Patrol (1987):
Release Date: April 3rd, 1987 Directed by: Jim Drake Written by: Gene Quintano Music by: Robert Folk Cast: Steve Guttenberg, Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, Sharon Stone, Colleen Camp, Tim Kazurinsky, Bobcat Goldthwait, George Gaynes, G.W. Bailey, Lance Kinsey, George R. Robertson, Brian Tochi, Scott Thomson, Billie Bird, David Spade, Brian Backer, Tab Thacker, Corinne Bohrer, Tony Hawk, Randall “Tex” Cobb
Warner Bros. Pictures, 88 Minutes
“Don’t touch those! Don’t you ever touch my balls without asking!” – Captain Harris
In an effort to not completely redo the plots of the first and third movie, this film sees Commandant Lassard start a new program that allows citizens to train at the academy with real police officers in an effort to build up a better relationship with the community. Essentially, it is a rehash of the first and third films but the little twist makes it a bit more interesting.
Billie Bird steals the show here as the elderly Mrs. Feldman. She is a tough as nails, take no shit, bad ass old lady that is the perfect compliment to the big gun-toting maniac that is Sgt. Tackleberry.
Sharon Stone is in this film too but you’ll barely notice. You can also enjoy the small roles played by a young David Spade, Brian Backer and a “blink and you’ll miss it” cameo by Tony Hawk.
Also, due to a bad back injury that Art Metrano suffered, Mauser was out of the picture and G.W. Bailey’s Capt. Harris was brought back as the antagonist of the series. Harris and Proctor together were even better than Mauser and Proctor in the two previous films.
The gags are great, the pranks are awesome and this film embodies the spirit of the installments before it. Unfortunately, it is the last film to star Steve Guttenberg and a drop off in quality over the course of the next three films was a result. We also lost Goldthwait and Kazurinsky after this chapter in the series and they were definitely missed.
The highlight of this movie is the big action sequence at the end, which featured biplanes, hot air balloons and a whole lot of mayhem.